To be clear, my argument wasn’t directed against Murray, but at his sources. I don’t doubt that Murray more or less correctly measured what he was trying to measure (whether or not that measurement has whatever significance he attributes to it, I don’t know; I haven’t read his book).
My real interest is in “debunking” the notion of the “common-practice period”; I would instead prefer to call the period in question the “Germanic period” or something similar. It isn’t really a question of quality: personally, I happen to agree that there is something special about Viennese classicism (i.e. Haydn, Mozart, and Beethoven) but I wouldn’t assign a similar specialness to Pachelbel and Reger while leaving out Gesualdo and Boulez.
ETA: Also, to be clear, my claim isn’t that German-and-Austrian-influenced historians unfairly leave out or devalue other composers from the period 1600-1900; it’s that they elevate that particular period itself to an unjustifiably high status relative to other periods (which in my view has hindered the development of music theory).
To be clear, my argument wasn’t directed against Murray, but at his sources. I don’t doubt that Murray more or less correctly measured what he was trying to measure (whether or not that measurement has whatever significance he attributes to it, I don’t know; I haven’t read his book).
My real interest is in “debunking” the notion of the “common-practice period”; I would instead prefer to call the period in question the “Germanic period” or something similar. It isn’t really a question of quality: personally, I happen to agree that there is something special about Viennese classicism (i.e. Haydn, Mozart, and Beethoven) but I wouldn’t assign a similar specialness to Pachelbel and Reger while leaving out Gesualdo and Boulez.
ETA: Also, to be clear, my claim isn’t that German-and-Austrian-influenced historians unfairly leave out or devalue other composers from the period 1600-1900; it’s that they elevate that particular period itself to an unjustifiably high status relative to other periods (which in my view has hindered the development of music theory).
Well, why did non-German historians go along with it, then?